The Gazette from Montreal, Quebec, Canada • 6

EARLY EDITION B4 OBITUARIES THE GAZETTE, MONTREAL, MONDAY, JUNE 30, 2008 CHARLES PARKHURST 6f tit I 1 IS' "'Ml 4 Ji LififciiMyMMirum'fAti an iiiiMwaiaiMiiniuM irn mfi tfir liiliili TofAiititrt-'fr-wwittn iHijii'afi)i'iMririMir an good records," Parkhurst said. "Even the looters kept good records, and they'd loot stuff from Italy, France, wherever, pack it in cases very well, and then make complete and thorough lists of the contents of each package and mark the boxes." On Nov. 7, 1945, Parkhurst and other officers created a furor when they signed the Wiesbaden Manifesto, a letter of protest declaring their refusal to help move German-owned artworks to the United States for safekeeping. "We believed first of all that the language was the same the Nazis had used when they looted, which was 'protective he said. "We thought that was a bad omen." After Eleanor Roosevelt appealed to General Lucius D.

Clay the deputy military governor of Germany, the plan was dropped. After leaving the navy in 1946, Parkhurst was an assistant curator at the Albright Art Gallery in Buffalo, N.Y., an assistant professor of art and archaeology at Princeton and assistant director of the Princeton Art Museum before returning to Oberlin in 1949 to lead its fine arts department and the Allen Memorial Art Museum. From 1962 to 1970 Parkhurst was director of the Baltimore Museum of Art As president of the American Association of Museums from 1966 to 1968, he developed an accreditation system for museums similar to the one used by universities. In 1970. he was named assistant director and chief curator of the National Gallery of Art as the museum prepared to break ground for the construction of its East Building.

After retiring from the National Gallery in 1983, Parkhurst taught and held museum positions at Williams College and Smith College. A few years ago, while looking at Giotto's frescoes in the Arena Chapel in Padua, Parkhurst became intrigued by the possible influence of the theatre on Giotto's art Like the reds, blues and yellows in Rubens, the idea gripped him, and he pursued it doggedly Well into his 90s, he was still chasing after art THE COMPLETE BIBLE HANDBOOK Charles Parkhurst curated, studied and investigated art well into his 90s. Most recently he was intrigued by the Giotto frescoes in the Arena Chapel in Padua. A life spent pursuing great art A'MONUMENTSMAN' Museum director and investigator who chased artwork looted by the Nazis sors and architects. They were known as the "monuments men" and their mission was to identify art works and buildings in need of protection and to ferret out caches of stolen art.

Beginning in the last year of the war, the group found and returned more than 5 million artifacts and art works to their rightful owners. Parkhurst and a team of more than 30 investigators, operating from the former national headquarters of the Nazi Party in Munich, ultimately identified 1,056 repositories of looted art. "The greatest treasures were in ancient salt mines near Aussee, near Salzburg," Parkhurst told an interviewer for the Archives of American cation, earning a master's at Oberlin College in 1938 and a master of fine arts at Princeton University in 1941. As an art historian, he first concentrated on Byzantine art, but after becoming intrigued by the palette of Rubens, he shifted his attention to colour theory in the 16th and 17th centuries. After working as an assistant curator at the National Gallery of Art in Washington, Parkhurst served in the navy as a gunnery officer in the Mediterranean.

As the war in Europe wound down, he was recommended for the art recovery team. In some respects, his work was helped by the Nazis themselves. "Germans are very methodical in general and by training and habit, and they kept very Art in 1982. "That's where the Van Eyck altarpiece was; the Bruges Madonna of Michelangelo was there." Neuschwanstein Castle, in Bavaria, turned out to be a particularly rich trove, filled with art stolen from the Rothschilds in Paris. "We shipped back 49 train carloads of art from there," Parkhurst said.

For his role in returning looted art, the French government made him a chevalier of the Legion d'honneur in 1948. Charles Percy Parkhurst was born in Columbus, Ohio, and grew up in Oberlin. He earned a bachelor of arts degree at Williams College in Massachusetts in 1935 and spent two years building roads and bridges in Alaska before resuming his edu As a lieutenant in the U.S. navy and a trained art historian, Parkhurst was deputy chief of Monuments, Fine Arts and Archives in Germany immediately after the war. The team, approved by President Franklin D.

Roosevelt in June 1943 and widely known as the Roberts Commission, after its chairman, Justice Owen J. Roberts of the Supreme Court, attracted an international group of young museum directors and curators, art profes WILLIAM CRIMES NEW YORK TIMES new york Charles Parkhurst, a museum director in Baltimore and Washington and one of the "monuments men," an Allied forces team that chased down leads, pried open crates and snooped around museums, salt mines and castles in search of art stolen by the Nazis during the Second World War, died on Thursday at his home in Amherst, Mass. He was 95. TONY SCHWARTZ Much sought-after media man and father of the 'daisy ad' AGORAPHOBE WHO (HANGED HIS FIELD Gave us TV's famous political commercial City; 1, 2, 3 and a Zing, Zing, Zing, featuring the songs and games of New York children; and A Dog's Life, which captured the sounds in the first year in the life of a real dog. (Many of these recordings are available from Smithsonian Folkways Recordings, folkways.sLedu.) Because of his agoraphobia, Schwartz confined his fieldwork to his neighbourhood on Manhattan's West Side.

One result was the recording New York 19 -the number denoted the district's old postal zone which documented the "music" Schwartz encountered there, from street performers to immigrant speech to a pneumatic drill singing its achingly familiar aria. For 31 years, from 1945 to 1976, Schwartz was the producer and host of Around New York, a radio program on WNYC. He was also a sound designer for several Broadway plays. Schwartz was a shrewd observer of mass communications, in particular advertising. The aim of advertising, Schwartz said, should not be to introduce viewers to new ideas, but rather to bring out ones that were already lurking subconsciously in the mind.

"The best political commercials are Rorschach patterns," he wrote in his book The Responsive Chord (Anchor Press, 1973). "They do not tell the viewer anything. They surface his feelings and provide a context for him to express these feelings." Schwartz also wrote Media: The Second God, published by Random House in 1981. He taught media studies at several universities, including Ford-ham, Columbia, New York University and Harvard, using a va- in its entirety, an account that was disputed by members of the Doyle Dane Bernbach team. (The ad was modelled directly on a radio commercial for nuclear disarmament that Schwartz had made for the UN in the early 1960s.) What is generally acknowledged is that Schwartz was responsible, at minimum, for the audio concept of the daisy ad the child counting up, the man counting down, the explosion and for producing the soundtrack.

Schwartz helped develop advertising campaigns for hundreds of political candidates, most of them Democrats, among them Jimmy Carter and Bill Clinton. (All made the trek to Schwartz's home to be filmed.) He was also known for creating some of television's earliest anti-smoking commercials. In news articles and profiles, Schwartz was often described as an impassioned visionary and occasionally as a skilled trafficker in truisms with a talent for self-promotion. His work was likened sometimes approvingly, sometimes not to that of the media scholar Marshall McLuhan, a mentor and close friend. (He was also sometimes confused with the Tony Schwartz who was a coauthor of memoirs by Michael D.

Eisner and Donald Trump.) But detractors and admirers alike praised Schwartz as a pioneer in putting sound to more effective use in television advertising. He was credited, for instance, with being the first to use real children's voices in television commercials, beginning in the late 1950s. (Advertisers had considered young children too intractable to deliver lines on cue; theirs had traditionally been recorded by adult actresses trying to sound like children.) Anthony Schwartz was born in Manhattan on Aug. 19, 1923. He was reared in New York City and Crompond, N.Y., near Peek-skill.

As a youth, he was a ham-radio operator and interested in visual art. At 16, he went blind for about six months as a result of an unspecified episode of "an emotional type," as he told People magazine. His blindness strengthened his already deep connection to the auditory world. Schwartz earned an undergraduate degree in graphic design from the Pratt Institute, followed by service during the Second World War as a civilian artist for the navy Afterward, he worked as an art director at ad agencies and later ran his own agency, Wexton which later became SolowWexton. Schwartz bought his first wire recorder around this time.

Slinging it heavily over a shoulder, he began to harvest the intoxicating sounds of the city: foghorns and folk singers; street vendors hawking their wares; a shoemaker plying his trade; a Central Park zookeeper waxing poetic on the care and feeding of lions; hundreds of taxi drivers; and a host of ordinary New Yorkers, just talking. Schwartz also built an important archive of folk music, recording young artists like Harry Belafonte and the Weavers performing in his home. Through correspondence with other, far-flung audiophiles, he augmented his collection with their recordings of music from around the globe. During the 1950s and afterward, Schwartz produced more than a dozen record albums, most for the Folkways label. Among them were Sounds of My riety of technologies to conduct classes from his home.

He liked to say that he had delivered lectures to every continent but Antarctica, all without leaving the house. Among Schwartz's most famous television ads is one he wrote and produced for the American Cancer Society, it was first broadcast in 1963, a year before the Surgeon General's warning on the dangers of smoking was released. The ad showed two children dressing up in adult clothes. The announcer's voice said, simply: "Children love to imitate their parents. Children learn by imitating their parents.

Do you smoke cigarettes?" He later produced an evocative television ad in which Patrick Reynolds, a grandson of the tobacco magnate R.J. Reynolds, named the members of his family who had died of cancer, emphysema and heart disease. Schwartz's commercial clients included Coca-Cola (for which he created the well-known TV ad featuring a sumptuously sweating bottle with the sound of pouring liquid as the only audio element); American Express; Chrysler; Kodak; and Paine Webber, among many others. In 2007, Schwartz's entire body of work from 1947 to 1999 was acquired by the Library of Congress. To the end of his career, Schwartz was often asked about the daisy ad.

To the end of his career, he defended it "For many years, it's been referred to as the beginning of negative commercials," Schwartz said in 2000. "There was nothing negative about it. Frankly, I think it was the most positive commercial ever made i Sept. 7, 1964, during NBC's Monday Night at the Movies. It showed a little girl in a meadow (in reality a Manhattan park), counting aloud as she plucks the petals from a daisy.

Her voice dissolves into a man's voice counting downward, followed by the image of an atomic blast. President Johnson's voice is heard on the soundtrack: "These are the stakes. To make a world in which all of God's children can live, or to go into the dark. We must either love each other, or we must die." (The president's speech deliberately invoked a line from September 1, 1939, a poem by WH. Auden written at the outbreak of the Second World Though the name of Johnson's opponent, Barry M.

Gold-water, was never mentioned, Goldwater's campaign objected strenuously to the ad. So did many members of the public, Republicans and Democrats alike. The spot was pulled from the air after a single commercial, though it was soon repeated on news broadcasts. It had done its work: With its dire implications about Goldwater and nuclear responsibility, the daisy ad was credited with contributing to Johnson's landslide victory at the polls in November. It was also credited with heralding the arrival of ferociously negative political advertising in the United States.

In interviews and on his Web site, tonyschwartz.org, Schwartz said he had created the daisy ad MARGALIT FOX NEW YORK TIMES new york Tony Schwartz, a self-taught, sought-after and highly reclusive media consultant who helped create what is generally considered to be the most famous political ad to appear on television, has died at his home in Manhattan. He was 84. His daughter, Kayla Schwartz-Burridge, said the cause was aortic valve stenosis, a condition involving the narrowing of the heart's aortic valve. "Media consultant" is barely adequate to describe Schwartz's portfolio. In a career of more than half a century, he was an art director, advertising executive, urban folklorist (in one project, capturing the cacophony of New York streets on phonograph records), radio host, Broadway sound designer, college professor, media theorist, author and maker of commercials for products, candidates and causes.

What was more, Schwartz, who had suffered from agoraphobia since the age of 13, accomplished most of these things entirely within his Manhattan home. Of the thousands of television and radio advertisements on which Schwartz worked, none is as well known, or as controversial, as the so-called "daisy ad," made for Lyndon B. Johnson's presidential campaign. Produced by the advertising agency Doyle Dane Bernbach in collaboration with Schwartz, the minute-long spot was broadcast.